Breaking Ground
A group of buildings built in the late 1800s on Church Avenue between W. 25th and W. 28th Streets in Ohio City were once the hallmark of a manufacturing town – housing everything from the original Baehr Brewing Company and Odd Fellows Masonic Hall to a machine shop and a tin and sheet metal shop, among other business and residential dwellings.
Exhibit Builders last owned and operated the buildings fronting W. 25th Street. More recently, the heavy industrial buildings housed the Phoenix Ice Machine Company, Lester Engineering Company, then a charter school and the Cuyahoga Metropolitan Housing Authority.
Today development partners Rick Foran of Foran Group and Chris Smythe of Smythe Property Advisors are converting the structures into contemporary apartment lofts with a nod to their unique history. “You know you’re in historic buildings, but with modern amenities,” says Smythe.
The project has been nine years in the making. Smythe and Foran bought their first property in the group from CMHA back in 2008 with a bank loan. Then the real estate market tanked.
Continue reading.
Exhibit Builders last owned and operated the buildings fronting W. 25th Street. More recently, the heavy industrial buildings housed the Phoenix Ice Machine Company, Lester Engineering Company, then a charter school and the Cuyahoga Metropolitan Housing Authority.
Today development partners Rick Foran of Foran Group and Chris Smythe of Smythe Property Advisors are converting the structures into contemporary apartment lofts with a nod to their unique history. “You know you’re in historic buildings, but with modern amenities,” says Smythe.
The project has been nine years in the making. Smythe and Foran bought their first property in the group from CMHA back in 2008 with a bank loan. Then the real estate market tanked.
Continue reading.
As Cleveland’s eastern suburbs were just beginning to establish themselves in the 1920s, Cleveland’s Lee-Harvard neighborhood, bordering Shaker Heights, Warrensville Heights and Maple Heights on the the city’s south east side, was thriving in its own right.
The Lee-Harvard neighborhood, once known as Miles Heights Village and the Lee-Seville neighborhoods, was historically an integrated community of notable firsts. Ohio’s first African-American mayor, Arthur Johnston was elected in 1929 when the neighborhood was mostly white. His house on East 147th Street still stands today.
The neighborhood established many of the first citizen's councils and neighborhood associations in the region and had an interracial police force.
On Thursday, October 6, the Cleveland Restoration Society (CRS), along with Cleveland Ward 1 councilman Terrell Pruitt, the Harvard Community Services Center and CSU’s Maxine Levin Goodman College of Urban Affairs, will present “Cleveland’s Suburb in the City: The Development and Growth of Lee-Harvard.”
The free discussion will be led by Todd Michney, assistant professor at the University of Toledo and author of Changing Neighborhoods: Black Upward Mobility in Cleveland, 1900-1980.
“We at CRS have been so impressed with the neighborhoods of Ward 1, Lee-Harvard and Lee-Seville,” says Michael Fleenor, CRS director of preservation services, "because they reflect our recent history – Cleveland’s last expansion, progress in Civil Rights, and the growth of neighborhood associations and community development corporations in the late 20th Century."
Click here for photos and to continue reading about the fascinating history of this stalwart Cleveland neighborthood.
The Lee-Harvard neighborhood, once known as Miles Heights Village and the Lee-Seville neighborhoods, was historically an integrated community of notable firsts. Ohio’s first African-American mayor, Arthur Johnston was elected in 1929 when the neighborhood was mostly white. His house on East 147th Street still stands today.
The neighborhood established many of the first citizen's councils and neighborhood associations in the region and had an interracial police force.
On Thursday, October 6, the Cleveland Restoration Society (CRS), along with Cleveland Ward 1 councilman Terrell Pruitt, the Harvard Community Services Center and CSU’s Maxine Levin Goodman College of Urban Affairs, will present “Cleveland’s Suburb in the City: The Development and Growth of Lee-Harvard.”
The free discussion will be led by Todd Michney, assistant professor at the University of Toledo and author of Changing Neighborhoods: Black Upward Mobility in Cleveland, 1900-1980.
“We at CRS have been so impressed with the neighborhoods of Ward 1, Lee-Harvard and Lee-Seville,” says Michael Fleenor, CRS director of preservation services, "because they reflect our recent history – Cleveland’s last expansion, progress in Civil Rights, and the growth of neighborhood associations and community development corporations in the late 20th Century."
Click here for photos and to continue reading about the fascinating history of this stalwart Cleveland neighborthood.
The Museum of Contemporary Art Cleveland (MOCA) reopened its doors last Friday after a short hiatus following the wildly successful Myopia exhibit. While completely different in tone from the Mark Mothersbaugh show, the new installations reflect a unique and unexpected study in contrast that stimulates every sense.
Visitors are well advised to start at the top, as it were, in MOCA's fourth floor galleries, wherein Wall to Wall: Carpets by Artists unfurls. The contents are aptly described by the title – these are carpets, which sounds mundane at first blush. The content is anything but, with lush and gorgeous images that are beautifully served by the textile medium.
A sampling of the 30 works: Faig Ahmed's Oiling (2012) literally melts the concept of a traditional middleeastern rug design while Deep Purple, Red Shoes (Polly Apfelbaum, 2015), invites visitors to walk upon it, provided they remove their shoes. Nautilus shells notwithstanding, Infinite Carpet (Pierre Bismuth, 2008) recalls the golden rectangle. And speaking of arithmetic, Joseph Kosuth's L.W. (Remarks on the Foundations of Mathematics), 2015, will have viewers indeed believing that "2 + 2 + 2 are 4."
Traveling to the next component of the 2016 show sounds benign enough, but – as regular visitors have come to expect – MOCA's Stair A refracts the experience. While attendees navigate the twisting stairs, Anthony Discenza's audio installation A Rising Tide Lifts All Boats advises them thusly:
"Think Suicide Girls meets the Pillsbury Dough Boy."
"Think Baywatch meets the Cuban Missile Crisis."
"Think Jersey Shore meets Stephen King."
The deep resonant voice, which is fitting of any voice-over John Q. Public is fed by media sources at every turn, is so convincing, attendees may indeed be inclined to plop down and listen to every suggestion within the 23-minute installation.
"Think art deco meets Jurassic Park."
Continue reading ...
Visitors are well advised to start at the top, as it were, in MOCA's fourth floor galleries, wherein Wall to Wall: Carpets by Artists unfurls. The contents are aptly described by the title – these are carpets, which sounds mundane at first blush. The content is anything but, with lush and gorgeous images that are beautifully served by the textile medium.
A sampling of the 30 works: Faig Ahmed's Oiling (2012) literally melts the concept of a traditional middleeastern rug design while Deep Purple, Red Shoes (Polly Apfelbaum, 2015), invites visitors to walk upon it, provided they remove their shoes. Nautilus shells notwithstanding, Infinite Carpet (Pierre Bismuth, 2008) recalls the golden rectangle. And speaking of arithmetic, Joseph Kosuth's L.W. (Remarks on the Foundations of Mathematics), 2015, will have viewers indeed believing that "2 + 2 + 2 are 4."
Traveling to the next component of the 2016 show sounds benign enough, but – as regular visitors have come to expect – MOCA's Stair A refracts the experience. While attendees navigate the twisting stairs, Anthony Discenza's audio installation A Rising Tide Lifts All Boats advises them thusly:
"Think Suicide Girls meets the Pillsbury Dough Boy."
"Think Baywatch meets the Cuban Missile Crisis."
"Think Jersey Shore meets Stephen King."
The deep resonant voice, which is fitting of any voice-over John Q. Public is fed by media sources at every turn, is so convincing, attendees may indeed be inclined to plop down and listen to every suggestion within the 23-minute installation.
"Think art deco meets Jurassic Park."
Continue reading ...
